02. Megalo Print Studio and Gallery

Total Page:16

File Type:pdf, Size:1020Kb

02. Megalo Print Studio and Gallery Ms Amanda Bresnan MLA Chair Standing Committee on Education, Training and Youth Affairs ACT Legislative Assembly Inquiry into the future use of the Fitters Workshop in the Kingston Arts Precinct Dear Ms Bresnan Please find attached Megalo Print Studio + Gallery’s submission to the Inquiry. This submission supports the decision to relocate Megalo to the Fitters Workshop in the Kingston Visual Arts Precinct. Megalo Print Studio + Gallery looks forward to the opportunity to appear before the Standing Committee to provide further information and clarification of the issues outlined in our submission. Should the Committee require any further information or assistance during its Inquiry, please contact Artistic Director/CEO, Alison Alder (Tel: 6241 4844 / email [email protected]. Yours sincerely Erica Seccombe Chair, Megalo Board. Megalo Print Studio + Gallery Submission to the Standing Committee on Education Training and Youth Affairs “Inquiry into the future use of the Fitters Workshop in the Kingston Arts Precinct” Renowned Australian Artist Mike Parr, with Master Printmaker John Loane, giving a demonstration in conjunction with the National Gallery of Australia public programs, Megalo 2011 Prepared by Megalo Print Studio + Gallery Contact Alison Alder, Artistic Director 49 Phillip Avenue, Watson ACT 2602 T: 6241 4844 [email protected] www.megalo.org 1 Contents 1. Executive Summary ..................................................................... page 4 2. The unique role of printmaking in Australia’s cultural history .............. page 5 3. Community demand for a print studio in the region .......................... page 5 3.1 Participation in the visual arts .................................. page 5 3.2 Attendance at art galleries ....................................... page 6 3.3 Economic contribution to the visual arts ..................... page 7 4. Megalo Print Studio + Gallery’s place within the Australian visual arts landscape at the national, regional and local level ............. page 7 5. Megalo Print Studio + Gallery current contemporary arts practice and services .................................................................... page 8 5.1 Membership and Member services ............................. page 9 5.2 Education program ................................................. page 10 5.3 Artists in residence ................................................. page 10 5.4 Arts development projects ....................................... page 10 5.5 Exhibitions ............................................................. page 11 5.6 Business development and governance ...................... page 11 6. History of Megalo Print Studio + Gallery temporary accommodation 1980 – 2011 ......................................... page 12 7. Consultation and decision-making processes relating to the relocation of Megalo Print Studio + Gallery to the Fitters Workshop .... page 13 8. Artist in residence accommodation at Cargills Cottage ...................... page 18 9. Respecting the heritage value of the Fitters Workshop ...................... page 19 10. Existing investment in arts infrastructure: venues for music performance and printmaking facilities in the ACT ............................ page 20 10.1 Purpose built and other music performance facilities in Canberra ............................................. page 20 10.2 Purpose built and other printmaking facilities in Canberra ......................................................... page 25 10.3 Cost .................................................................... page 26 11. Fitters Workshop Acoustic issues .................................................... page 26 12. Further issues for the Committee of Inquiry to consider .................... page 27 13. Conclusion .................................................................................. page 28 2 Tables Table 1: Attendance rate at selected cultural venues and events, Australia and Australian Capital Territory, 2009-10 ....................... page 6 Table 2: Attendance rates at art galleries and classical music concerts 2009-10, Australian Capital Territory by age .......... page 7 Table 3: Attendance rates at art galleries and classical music concerts 2009-10, all Australian states and Territories ......... page 7 Table 4: Annual Membership, access hours & audience to Megalo studios ........................................................................ page 9 Table 5: Age demographic using the studios ............................... page 9 Table 6: History of Megalo’s location in temporary facilities .......... page 12 Table 7: Timeline of ACT Government consultative and decision making processes relating to Megalo’s proposed relocation to the Fitters Workshop 1998-2011 ............................................ page 13-17 Table 8: Timeline of Megalo’s consultative and decision making processes relating to Cargills Cottage Kingston as an artist-in-residence facility 2011 .................................................. page 18 Table 9: Purpose built and other music performance facilities in Canberra ............................................................................. page 20-25 Appendices Appendix 1: Art works held in the National Gallery of Australia collection by artists who have worked at Megalo/Studio one ... page 29 Appendix 2: Megalo Print Studio + Gallery residencies 2009/10/11 ...... page 30 Appendix 3: Megalo Exhibitions 2009/10/11 ...................................... page 31-32 Appendix 4: Images to support this submission ................................ page 33 Historic photographs of the Fitters Workshop ................... page 33 Interior of the Glasgow Print Studio ................................ page 34 Selected images of Megalo activities and artists ............... page 35-36 3 1. Executive Summary Megalo Print Studio + Gallery welcomes the opportunity to present this submission to the Standing Committee inquiring into 'The Future Use of the Fitters Workshop in the Kingston Arts Precinct'. This submission supports the Government’s decision to relocate Megalo to this prominent and central location in the Kingston Visual Arts Precinct. The Fitters Workshop is a remarkable building requiring a suitable tenant and Megalo is an internationally and nationally recognised organisation with a preeminent artistic reputation in its field. Megalo Print Studio + Gallery physically and conceptually fits beautifully within the industrial heritage of the Fitters Workshop. It does this both as a workshop of active creativity, but also as a reflection of the buildings’ past historical activity. This submission highlights Megalo's current operations and the innovative programs that will promote and keep the Fitters Workshop open to artists and all members of the community on a daily basis. Megalo’s membership level is currently higher than it has ever been. The younger demographic of the membership reflects the growing trend in Australia for young people to make and engage with art. Megalo's access studios have remained relevant to every generation whilst maintaining important connections with people of all ages. Over more than 30 years Megalo’s studios have also launched important artistic careers and produced memorable work now in collections around Australia and the world. Megalo is the only printmaking facility in Australia to offer access to studios in intaglio printing, relief printing, lithographic printing and screen–printing on both fabric and paper – with Megalo Members currently logging over 10,000 hours of studio access per year. Megalo is able to demonstrate that it has: • operated in a fair, honourable and transparent manner with regard to its long run bid for tenancy of the Fitters Workshop, Kingston, • acted within government policy frameworks at all times, • developed a business plan and a schedule of activity for working sustainably and successfully within the Fitters Workshop, and • has worked with architectural consultants to produce affordable and excellent plans which respect and enhance the volume, light and industrial heritage of the important building. Megalo can strongly argue that its tenancy of the Fitters Workshop will: • generate both income and cultural capital for Canberra and enhanced awareness of Canberra as a accessible cultural centre of excellence, • build on the local, national and international standing of Megalo obtained during 31 years of successful operations in the ACT, • build on the potential of the Kingston Visual Arts Precinct as a world class destination for the community, for visitors and for artists alike, • ensure that the Workshop is actively used by a broad demographic with a daily occupancy, • be sympathetic to the industrial workshop heritage of the building and, • offer the most cost-effective and creative solution to the future use of the Fitters Workshop while providing an new home to a venerable Canberra artistic institution. 4 Megalo has widespread community support for a permanent home in the Kingston Visual Arts Precinct. Successive ACT governments have recognised the need to develop hubs of artistic activity, ensuring that Canberra continues to grow as a vibrant and progressive city. Megalo is an intrinsic part of this vision for the long term. 2. The unique role of printmaking in Australia’s cultural history The image of Australia, as drawn through print media has defined our nation for over two centuries and continues to do so today. From Banks' Florilegium to Margaret Preston's modernist woodblock
Recommended publications
  • Aboriginal and Torres Strait Islander Heritage Trail Pamphlet
    ABORIGINAL AND TORRES STRAIT ISLANDER HERITAGE TRAIL WELCOME Welcome to Welcome to This self-guided walking trail will take Ngunnawal Country Ngarigu Country you across the ANU Acton Campus, highlighting the cultural significance On behalf of the King Brown Tribal Group Through this Heritage Trail, we hope you take of this place, the way in which representatives, we welcome you to Canberra away a new understanding of the diversity Aboriginal people have used this and the ANU. We hope through this Heritage and richness of the Aboriginal history and families area for thousands of years and the Trail you will enjoy learning about our Country of the Canberra region. Let’s journey together! continuing culture and connection and our peoples. James Mundy, Ngarigu Currawong Clan, Elder to Country. The trail also covers Carl Brown, Ngunnawal Elder the different units and centres at ANU that research Aboriginal and Torres Welcome to ANU, welcome Strait Islander culture, history, health, Welcome to to our Acton Campus economics and education as well as Ngambri Country areas that support Aboriginal and Torres & welcome to the ANU Strait Islander staff and students. On behalf of my family and the Ngambri peoples Aboriginal & Torres Strait 2 of the Canberra region, both past and present, Islander Heritage Trail. On this trail you can learn about the 3 we welcome you and invite you to journey with importance of Sullivans Creek and Black us along the Heritage Trail. We acknowledge and celebrate the First Mountain, navigation across Country, Matilda House, Ngambri Elder Australians on whose land we are fortunate to have bush foods and medicines, ceremony built our campus and our history as Australia’s National University.
    [Show full text]
  • Matilda House
    MATILDA HOUSE “Welcome to Country” Her opening statement says a lot about Matilda House-Williams: “I’m a tough little bugger, I always have been ... and a very proud Aboriginal woman”, and because her heritage and extended family is her essence she is quick to add: Of the Ngambri Ngunnawal Wiradjuri people; of the country of my great grandfather “Black Harry” Williams, and the daughter of Pearly Simpson- Williams a Ngunnawal-speaking woman of the Wallabalooa people. I was sitting next to Matilda House-Williams at barbeque at the Artists Shed, Queanbeyan, New South Wales. Friends were amused that mosquitoes were winging their way past them to alight on the Ngambri elder and me. We were not amused and traded insect repellent. One blood-laden mosquito sluggishly left Matilda’s arm to land on mine and I had no qualms in destroying this life form. Matilda congratulated me, laughed out loud and said “we have the same blood, sister”. I laughed also. Our heritage could not have been more different, nor the genes we carried, but yes, the mosquito had not discriminated. And I was complimented by the carefree comment. When I first asked Matilda if I might include her in my book I detected uncertainty. I had watched the Ngambri elder bravely offer a “Welcome to Country” at the opening of the 42nd Parliament on 12 February 2008. She was the first Indigenous Australian to be so asked – a poor reflection on Australia and our governments. Matilda was guarded. As I grew to know her better, learnt more of her life and those of her people, I understood – Matilda was a survivor and the layer of reserve was derived from self-preservation.
    [Show full text]
  • Unfinished Business Truth-Telling About
    Unfinished business Truth-telling about Aboriginal land rights and native title in the ACT Discussion paper Ed Wensing March 2021 DOI: 10.13140/RG.2.2.16608.61440 Acknowledgement of Country I acknowledge the Traditional Owners on whose Country I live, work and play. I acknowledge that the Aboriginal and Torres Strait Islander peoples of Australia are the oldest living culture on Earth, have the oldest continuing land tenure and land use planning and management systems in the World. Your law, knowledge, culture and tradition is a gift to all Australians. I acknowledge that you have suffered the indignity of having your land taken from you without your free, prior and informed consent, without a treaty and without compensation on just terms. I also acknowledge these matters are yet to be justly resolved. Dr Ed Wensing (Life Fellow) FPIA FHEA ABOUT THE AUSTRALIA INSTITUTE The Australia Institute is an independent public policy think tank based in Canberra. It is funded by donations from philanthropic trusts and individuals and commissioned research. We barrack for ideas, not political parties or candidates. Since its launch in 1994, the Institute has carried out highly influential research on a broad range of economic, social and environmental issues. OUR PHILOSOPHY As we begin the 21st century, new dilemmas confront our society and our planet. Unprecedented levels of consumption co-exist with extreme poverty. Through new technology we are more connected than we have ever been, yet civic engagement is declining. Environmental neglect continues despite heightened ecological awareness. A better balance is urgently needed. The Australia Institute’s directors, staff and supporters represent a broad range of views and priorities.
    [Show full text]
  • 2019 Annual Report the National Association for the Visual Arts (Nava) Annual Report 2019
    2019 ANNUAL REPORT THE NATIONAL ASSOCIATION FOR THE VISUAL ARTS (NAVA) ANNUAL REPORT 2019 NAVA leads advocacy, policy and action for CONTENTS an Australian contemporary arts sector that’s ambitious and fair. Reflecting on 2019 2 Through the Code of Practice for the Professional Australian Visual Arts, Media, Craft and Design ARTIST FOCUS Sector, we set national best practice standards Membership 3 for the contemporary arts industry. Professional Development 4 Artistic Leadership 5 Our vision – that artistic courage ignites Australian culture – drives everything we do. INDUSTRY FOCUS Code of Practice 7 Cross-Sector Partnerships 7 The National Association for the Visual Arts Industry Leadership 8 (NAVA) acknowledges the Gadigal peoples of the Eora Nation where our office is located and all Custodians of Country throughout all lands, PUBLIC FOCUS Policy Development 10 waters and territories. Their sovereignty has never been ceded. We pay our respects to the Public Engagement 10 Elders past, present and future. Cultural Leadership 11 The words “Aboriginal and Torres Strait ABOUT NAVA 12 Islander’, ‘Blak’, ‘Indigenous’, ‘First Nations’ Our board 13 and ‘First Peoples’, are used interchangeably Staff 14 in this report to refer to both Aboriginal and Acknowledgements 14 Torres Strait Islanders, and global First Nations artists in the Australian arts and culture sector. 2019 Financial Report 15 NAVA understands the complexities in the use of these words and that some Aboriginal and Torres Strait Islander peoples may not be comfortable with some of these words. We would like to make known that only the deepest respect is intended in the use of these terms.
    [Show full text]
  • KABAILA P03 Sound Recordings Collected by Peter Rimas Kabaila
    Finding aid KABAILA_P03 Sound recordings collected by Peter Rimas Kabaila, 1993-1999 Prepared July 2015 by RS Last updated 6 December 2016 ACCESS Availability of copies Listening copies are available. Contact the AIATSIS Audiovisual Access Unit by completing an online enquiry form or phone (02) 6261 4212 to arrange an appointment to listen to the recordings or to order copies. Restrictions on listening Some materials in this collection are restricted and may only be listened to by those who have obtained permission from the relevant Indigenous individual, family or community. Refer to audition sheets below for more details. Restrictions on use This collection is partially restricted. It contains some materials which may only be copied by those who have obtained permission from the relevant Indigenous individual, family or community. Refer to audition sheets below for more details. Permission must be sought from the relevant Indigenous individual, family or community for any publication or quotation of this material. Any publication or quotation must be consistent with the Copyright Act (1968). SCOPE AND CONTENT NOTE Date: 1993-1999 Extent: 55 audio-cassettes Production history These oral history recordings were collected between 1993 and 1999 during interviews conducted by archaeologist/architect Peter Kabaila who travelled to various places in New South Wales, the Australian Capital Territory, and Victoria. Interviewees include Sibby Johnson, Esther Cutmore, Ethel Baxter, Elma Pearsall, Christine Sloane, Josie Ingram, Susan Hart, Barbara
    [Show full text]
  • Eleventh National Schools' Constitutional Convention REPORT
    Eleventh National Schools’ Constitutional Convention Governing Australia: Should it be fixed or flexible? REPORT OF THE ELEVENTH NATIONAL SCHOOLS’ CONSTITUTIONAL CONVENTION Old Parliament House Canberra 29-31 March 2006 1 Eleventh National Schools’ Constitutional Convention Contents 1. Introduction ............................................................................................................3 2. Convention Participants..........................................................................................3 3. Convention Program...............................................................................................3 4. Convention Focus...................................................................................................4 5. Convention Processes.............................................................................................4 6. Delegates’ Perspectives on the Issues ....................................................................6 7. Mock Referendum Results .....................................................................................9 8. Convention Outcomes ..........................................................................................10 Appendix 1: Convention Program............................................................................11 Appendix 2: Discussion Paper/Pre-reading 1...........................................................14 Appendix 3: Discussion Paper/Pre-reading 2...........................................................17 2 Eleventh National
    [Show full text]
  • Aboriginal & Torres Strait Islander
    MAY 2009 ■ VOL 6 ■ ISSUE 1 ABORIGINAL & TORRES STRAIT ISLANDER nFROMe THE NwATIONAL s Goree MUSEUM OF AUSTRALIA Selling Yarns 2 Sharing extravaganza Personal Histories Truth and Reconciliation in Bowraville 2 Message from the Director of the National Museum of Australia MESSAGE FROM THE MESSAGE FROM 3 Message from the Principal Advisor (Indigenous) MESSAGE FROM THE PRINCIPAL ADVISOR to the Director, and Senior Curator THE ABORIGINAL AND DIRECTOR OF THE TO THE DIRECTOR TORRES STRAIT ISLANDER 3 Message from the Aboriginal and Torres Strait NATIONAL MUSEUM AND SENIOR CURATOR Islander Program Director PROGRAM DIRECTOR OF AUSTRALIA (INDIGENOUS MATTERS) 4 Mates 5 Goree, new name reflects history, by Paul House 6 Selling Yarns 2 — the extravaganza, I’d like to acknowledge the Ngambri and of the Museum’s to the latest news from by Andy Greenslade Welcome. Welcome to the eleventh issue Hello again and welcome Ngunnawal people of the Australian Capital Territory as well as Aboriginal and Torres Strait Islander News. As is customary I would the Aboriginal and Torres Strait Islander program. I’d like to open by 8 ... SY2 market day all the Aboriginal and Torres Strait Islander peoples whose stories also like to acknowledge the Ngambri and Ngunnawal custodians acknowledging the Ngambri and Ngunnawal people of Canberra and we present through our exhibitions and activities. 9 Kalkadunga man, by Susan Tonkin of the area and the many other Indigenous people who have made the region. Contents Canberra and region their home. There are some 4000 of us in the Over the past several months the Museum has made some Already this year we have had a Hall display on the first anniversary of 10 My family stories are your history, by Jay Arthur Australian Capital Territory alone representing 1.2 per cent of the considerable achievements.
    [Show full text]
  • Aboriginal Australian Heritage in the Postcolonial City: Sites of Anti-Colonial Resistance and Continuing Presence
    Aboriginal Australian heritage in the postcolonial city: sites of anti-colonial resistance and continuing presence Vidhu Gandhi Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy September 2008 Faculty of the Built Environment University of New South Wales ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed: Date: 02 September 2008 COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation.
    [Show full text]
  • Anu Treaty Forum Programme 13-14 November 2019
    ANU Public Policy and Societal Impact Hub ANU TREATY FORUM PROGRAMME 13-14 NOVEMBER 2019 ANU National Centre for ANU Public Policy and Indigenous Studies Societal Impact Hub CONTENTS INFORMATION 2 WELCOME 3 ULURU STATEMENT FROM THE HEART 5 PROGRAMME 6 BARUNGA STATEMENT 11 SPEAKERS 12 INFORMATION Registration desk Forum app Hedley Bull Atrium iPhone - download from iTunes Android - download from Google Play Event support Greta Piazzoli Forum website 0429911575 http://treaty.anu.edu.au E [email protected] Venues Forum Director Hedley Bull Building Professor Asmi Wood 130 Garran Road, Acton ACT 2601 Interim Director, National Centre for Indigenous Studies, ANU T 02 6125 6708 University House E [email protected] 1 Balmain Crescent, Acton ACT 2601 Twitter Kambri Cultural Centre #ANUtreatyforum 153 University Avenue, Acton ACT 2601 Wifi internet access Network: ANU-Secure Username: ANUTreaty2019 Password: Treaty2019! ANU Security T (02) 6125 2249 Emergency services Dial 000 WELCOME We are fortunate to meet on beautiful Ngunnawal/Ngambri Country to discuss an issue, treaties, that is significant to contemporary Indigenous communities. I would like to welcome you all to the Australian National University and hope that we can share our collective experiences and thoughts that will, in the not too distant future, lead to beneficial treaty outcomes for our communities. This forum follows on from and was foreshadowed by the First Nations Governance Forum facilitated by the ANU in 2018. The reversal of Indigenous invisibility and the subsequent process of Indigenous recognition in the nation’s psyche has been inching along. The absence so far of fair treatment of Indigenous Peoples on this continent has been tragic in practice.
    [Show full text]
  • Indigenous Invisibility in the City
    Indigenous Invisibility in the City Indigenous Invisibility in the City contextualises the significant social change in Indigenous life circumstances and resurgence that came out of social movements in cities. It is about Indigenous resurgence and community development by First Nations people for First Nations people in cities. Seventy-five years ago, First Nations peoples began a significant post-war period of relocation to cities in the United States, Canada, Australia, and Aotearoa New Zealand. First Nations peoples engaged in projects of resurgence and community development in the cities of the four settler states. First Nations peoples, who were motivated by aspirations for autonomy and empowerment, went on to create the foundations of Indigenous social infrastructure. This book explains the ways First Nations people in cities created and took control of their own futures. A fact largely wilfully ignored in policy contexts. Today, differences exist over the way governments and First Nations peoples see the role and responsibilities of Indigenous institutions in cities. What remains hidden in plain sight is their societal function as a social and political apparatus through which much of the social processes of Indigenous resurgence and community development in cities occurred. The struggle for self-determination in settler cities plays out through First Nations people’s efforts to sustain their own institutions and resurgence, but also rights and recognition in cities. This book will be of interest to Indigenous studies scholars, urban sociologists, urban political scientists, urban studies scholars, and development studies scholars interested in urban issues and community building and development. Deirdre Howard-Wagner is a sociologist and associate professor with the Australian National University.
    [Show full text]
  • NACCHO Annual Report 2008–09 National Aboriginal Community Controlled Health Organisation
    National Aboriginal Community Controlled Health Organisation NACCHO AnnuAl RepORt 2008–09 Production: Design Direction | Printing: Elect Printing | Stock: Spicers Saxton Smooth Chardonnay Copyright: This work is copyright and may not be reproduced either in whole or part without the prior written approval of NACCHO unless for the purposes of NACCHO. NACCHO is the national peak body representing Aboriginal Community Controlled Health Services. It is a public company limited by guarantee, not having a share capital, and was incorporated under the Commonwealth Corporations Law provisions by the Australian Securities Commission in June 1997. ABN 89 078 949 710. NACCHO acknowledges the financial support of the Department of Health and Ageing. National Aboriginal Community Controlled Health Organisation NACCHO AnnuAl RepORt 2008–09 NACCHO is the national peak body representing Aboriginal Community Controlled Health Services. It is a public company limited by guarantee, not having a share capital, and was incorporated under the Commonwealth Corporations Law provisions by the Australian Securities Commission in June 1997. ABN 89 078 949 710. i ABOUT NACCHO CONTENTS ABOUT NACCHO .......................................................................................................................................................................................1 REPORTS .........................................................................................................................................................................................................3
    [Show full text]
  • Red Hill Campsite
    Heritage Council BACKGROUND INFORMATION RED HILL CAMPSITE (Red Hill Campsite is located on the traffic island within the road easement bordered by Flinders Way, Durville Crescent and Hayes Crescent, Griffith). At its meeting of 7 February 2019 the ACT Heritage Council decided that the Red Hill Campsite was eligible for Registration. The information contained in this report was considered by the ACT Heritage Council in assessing the nomination for the Red Hill Campsite against the heritage significance criteria outlined in s10 of the Heritage Act 2004. HISTORY ‘The last campsite of the Ngunnawal’ The Ngunnawal people are one of several groups traditionally affiliated with the lands within the Canberra region. In this citation, ‘Aboriginal community’ refers to the Ngunnawal people and other Aboriginal groups, including the Ngambri, within the ACT who draw significance from the place. Whilst the term ‘Aboriginal community’ acknowledges these groups in the ACT, it is recognised that their traditional territories extend outside contemporary borders. These places attest to a rich history of Aboriginal connection to the area. The Aboriginal history of the ACT extends from the present day back many thousands of years, and is evidenced by both the tangible and intangible aspects of Aboriginal culture and history. The earliest evidence of Aboriginal people in the region comes from Birrigai Rock Shelter in Tidbinbilla, dating back to over 25,000 years ago (Flood 1995:116; and Theden-Ringl 2016:26). Activity at Birrigai has been linked to seasonal gatherings of local and regional Aboriginal people who would come together along Aboriginal pathways, and participate in a series of meetings and ceremonies along the way.
    [Show full text]